Dissertations / Theses on the topic 'Folklore and nationalism'

Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第11672号
人博第278号
新制||人||69(附属図書館)
16||169(吉田南総合図書館)
23315
UT51-2005-D421
京都大学大学院人間･環境学研究科文化･地域環境学専攻
(主査)教授 鈴木 雅之, 教授 丸橋 良雄, 助教授 水野 眞理, 助教授 桂山 康司
学位規則第4条第1項該当

Cette étude retrace, à partir des archives des danseurs et chorégraphes ainsi que des institutions culturelles et politiques, l’évolution de l’espace de la danse en roumanie dès sa création dans les années 1920 jusqu’à la chute du régime communiste en 1989 et interroge, à travers une approche socio-historique, le lien complexe entre danse et politique qui caractérise la configuration du champ chorégraphique roumain au vingtième siècle
Starting from archives of dancers, choreographers, cultural and political institutions, this study shapes the history of the romanian field of dance since its creation in the early 1920s until the end of the communist regime in 1989. its main focus is an analysis of the complex connection between dance and politics that defines the romanian world of dance during the twentieth century

Em 1921, o Conselho Nacional de Educação da Argentina aprovou a realização de um inquérito para compilar as tradições identificadas ao folclore nacional. A tarefa foi confiada a professores de milhares de escolas subordinadas ao órgão e localizadas, sobretudo, nas áreas rurais do país. Esse projeto relacionava-se às concepções de intelectuais identificados ao nacionalismo da chamada Geração do Centenário da Independência de 1910, preocupados em reafirmar a identidade nacional diante de um contexto de instabilidade social e de uma sociedade heterogênea, conformada por indígenas, imigrantes etc. Por meio da análise da documentação coletada no Território Nacional do Río Negro, antiga região de fronteira recém-incorporada como unidade político-administrativa do Estado, serão discutidos os alcances e limites desse projeto, tendo em vista os ideais nacionalistas, o contexto histórico nacional e local e as particularidades inerentes ao conceito de cultura popular, como as dinâmicas de circularidade. Desse modo, serão demonstradas as maneiras pelas quais os professores, enquanto intermediários culturais, atuaram nos espaços de negociação possíveis entre a proposta formal e a aplicação do inquérito, bem como a inserção da Encuesta na consolidação simbólica do Estado-nacional argentino.
In March 1921, the Argentinian National Education Council approved the realization of an enquiry that would collect national folklore traditions. That work was given to the teachers of the thousands schools under Council administration and located, substantially, at rural areas. The project was related to intellectuals conceptions aligned with so-called Independence Centenary Generation nationalism, dedicated to affirm national identity attributes in contrast to a context characterized by social instability and heterogeneous society, composed of native population, immigrants, etc. By means of analyzing documents collected on Río Negro National Territory, boundary region newly added as a federal unity, they will be discussed ranges and limits of the project, considering nationalistic ideals, national and regional historical contexts and particularities concerned to popular culture concept, like interrelationship dynamics for example. Thus it will be demonstrated how teachers, as passeurs culturels, acted on the negotiation margins between formal proposal and real enquiry application, as well as Encuesta insertion in symbolic consolidation of Argentinian nation state.

Making use of knowledge from a wide range of disciplines, this thesis analyses the interactions of culture and economy, particularly regarding the influence of nineteenthcentury historiography, on Shetland’s present-day economic development. Shetland’s local identity concept is strongly influenced by this North Sea archipelago’s Norse history. This is in part the result of the islands’ late nineteenth- and early twentiethcentury national romantic literature, which was inspired by Continental and mainland British trends in anthropology and philology. The theories of fairy origins proposed in the 1890s by the Edinburgh anthropologist David MacRitchie exerted a great influence on Shetland writers. His theories – since shown to be incorrect – led to the historiographic dehumanisation of the islands’ pre-Norse population and permitted the complete valorisation of the Vikings, most notably in the work of the Shetland author Jessie Saxby. Since the 1930s, a variation of MacRitchie’s theory has been repeated in nearly every local book concerning Shetland folk belief. These conceptions of history continue to inform the sense of local identity felt by many Shetlanders. This has come into conflict with the local government’s efforts at place brand, tourism, heritage, and economic development, all of which tie into a broader struggle between fostering Shetland’s national awareness and expanding Shetland’s jurisdictional capacity. Particular attention is paid to how history is used variously by the community to express exclusivity and by the local government to promote inclusivity.

There is an overwhelming tendency for scholars of Polish music to politicise the presence of folk music references when they appear in art music compositions. This has particularly been the case in studies of Frédéric Chopin, where certain myths pertaining to that composer’s extramusical intentions long dominated how his music was unpacked in musicological discourse. In this thesis, I demonstrate that our understanding of later Polish composers suffers similarly from this tendency. In an examination of the discourse surrounding both Karol Szymanowski and Henryk Mikołaj Górecki, I show that a myopic understanding of the compositional possibilities bound up in folk music engagement has limited the scope of our interrogations into their compositional practices. I then reposition folk music as an aesthetic tool in their works that has enabled these artists to negotiate the compositional challenges confronting their respective generations. In addition to improving our understanding of these two composers’ methods, my analyses highlight how folk music models can lend a sense of familiarity and cohesion to the modern musical aesthetic. I then take these findings and define a framework for categorising the aesthetic function of folklore in modern Polish music. Turning to my own compositional practice, I analyse a portfolio of original works that have been influenced by my concurrent study of Polish composers and Polish folk music. With this I demonstrate how these categories of aesthetic function have enabled me to engage with a wide range of traditional sources, including Polish folk music, folk music from other cultures, and other non-musical artefacts of Polish culture. I further show that, within this breadth of historical sources, there exists a significant amount of aesthetic potential waiting to be unpacked by any modern composer who shares my goal to create music that is cohesive, conveys a clear musical narrative, and possesses a strong individual identity.

Estonian national identity is defined by its centuries-long struggle forindependence and autonomy. This thesis examines this struggle and resulting identity through the lens of the laulupidu, or song festival, and its employment as a vehicle of political mobilization and re-constructor of Estonian history. Regarding folklore, in this case festivals and folk songs, as containers of the soul of the nation, I show how Estonians have produced and reproduced their national identity through the practice which they hold sacred: choral singing. I implemented a critical geopolitical approach coupled with Billig’s concepts of ‘hot’ and banal nationalism, and Paasi’s focus on independence, to study the 2014 song festival, entitled “Touched by Time. The Time to Touch.” Utilizing the song selection from the 2014 festival and comparing it against the programs from festivals ranging from 1869-2009 (from which selections were gleaned for the 2014 event), this thesis shows how Estonian national identity and historical memory are reconstructed through the symbolic choice of song.

In the centuries since the colonization of the New World, the people of Cuba created a strong musical tradition. Initially, their music mirrored the European composition canons of structural, melodic and harmonic order. The eventual confluence of its distinct cultural elements (i.e. the European, African, and, to a lesser extent, Amerindian) led to the emergence of a new, distinctly Cuban musical tradition. The wars for independence that began in the United States and Europe in the eighteenth century created a surge towards political and cultural autonomy that swept across the Latin American colonies, generating a wave of nationalism during the nineteenth century. After finally gaining its independence in 1902, Cuba sought to define itself as a nation. Cubans looked inward to their regional folklore—their indigenous and popular traditions—for the source of their national identity, a trend that became of primary interest to Cuban artists. The nationalist trend found full musical expression during the twentieth century, when composers turned to folklore for their inspiration in creating new art music (works for the concert hall) with a unique sound and vitality. This study concerns itself with the Cuban nationalist movement and its role in the creation of art music by twentieth-century Cuban composers, most specifically that of Mario Abril. The monograph is organized into three general sections: the first section (Chapters 2 and 3) identifies the significant characteristics of nationalism, describes the manifestation of some relevant nationalist movements (e.g., in Europe and Latin America), and explores the manifestation of the nationalist movement in Cuba. The second section (Chapters 4 and 5) provides a history of Cuban art music, concluding with a biographical sketch of composer Mario Abril. The third part (Chapters 6 and 7)consists of a study of the music, beginning with a description of the pertinent characteristics of Cuban popular music, followed by an examination Mario Abril’s Fantasía (Introduction and Pachanga) for clarinet and piano. The document concludes with remarks about the characteristics that qualify the work as an example of Cuban nationalist art music with suggestions for the study and interpretation of the work.

Cette thèse a été réalisée en cotutelle entre l'Université de Montréal et l'École des Hautes Études en Sciences Sociales de Paris, sous la direction de Michel Duchesneau (UdeM) et Esteban Buch (EHESS). La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (http://www.bib.umontreal.ca/MU).
Cette thèse a pour objectif d’approfondir les notions de nationalisme et de cosmopolitisme ainsi que les liens qui peuvent exister entre elles à travers l’œuvre et la carrière de Casella. Le pianiste et compositeur italien Alfredo Casella est né à Turin en 1883. Les conservatoires italiens de l’époque ne pouvant lui offrir une formation musicale adéquate et complémentaire à celle reçue auprès de sa famille, Casella gagne la France. Il fait ses études au Conservatoire de Paris jusqu’en 1902, auprès de Gabriel Fauré et Louis Diémer. Au cours de ces années passées en France (1896-1915), Casella prend une part active dans la vie musicale parisienne. Il se produit dans plusieurs salons, dans de nombreux concerts organisés par des sociétés françaises (à la fois comme pianiste et comme compositeur). À travers son activité journalistique très riche, Casella s’implique activement dans les débats et les polémiques ayant cours à l’époque dans le milieu musical français. Lors de ces dix-neuf années françaises, Casella est exposé aux courants nationalistes qui habitent les milieux artistiques français. Parallèlement à ces tendances, Casella baignera dans les diverses influences étrangères (russes, allemandes, espagnoles, hongroises) qui convergent vers cette véritable plaque tournante qu’est le Paris du début du XXe siècle. Ces multiples influences (celles de Stravinsky, Bartók, De Falla, entre autres) se retrouvent toutes intégrées dans ses œuvres musicales. À tel point que l’on surnommera Casella le « caméléon ». Le déclenchement de la Première Guerre mondiale force Casella à retourner en Italie. La péninsule est alors dominée par la musique d’opéra et la production de musique instrumentale y est presque inexistante. Casella se donne la mission de « rénover » la musique instrumentale et de combattre activement le courant conservateur associé à la musique d’opéra italienne. Un tel renouveau musical sera possible, selon Casella, si les compositeurs italiens de la nouvelle génération parviennent à renoncer aux excès sentimentaux du romantisme. C’est ce que Casella s’efforcera de faire dans ses propres œuvres. Mais ce ne sera pas suffisant. Les jeunes compositeurs devront étudier les œuvres des grands maîtres italiens des XVIIe et XVIIIe siècles, tout en intégrant les innovations techniques des musiques contemporaines européennes. Casella proposera un programme d’éducation s’adressant autant aux jeunes compositeurs qu’au public italien. La pédagogie sera la clé qui permettra d’accéder au renouveau musical. Professeur de piano à l’Accademia Santa Cecilia, puis au Conservatoire de Rome et finalement à l’Accademia Chigiana de Sienne, Casella se servira de ces positions pour initier le mouvement dont il se veut le porte-parole. Il mettra également sur pied deux sociétés de concerts, la Società Italiana di Musica Moderna (1916-1918) et la Corporazione delle Nuove Musiche (1924-1928). Avec ces deux sociétés de concerts destinées à faire reconnaître les musiques contemporaines en Italie, Casella parvient à se forger un impressionnant réseau international qui contribuera à son vaste plan de développement de la musique italienne dans un contexte mondial. L’objectif de Casella est de redonner sa dignité à l’art musical italien. Dans les années 1930, sa volonté de rénover la musique de la péninsule concorde avec plusieurs traits de la politique culturelle du régime fasciste de Benito Mussolini. Le nom de Casella sera donc souvent associé aux réalisations culturelles du régime fasciste, ce qui semble contradictoire avec les intentions universalisantes du compositeur.
This dissertation seeks to study the notions of nationalism and cosmopolitanism as well as the possible links between them, through the work and career of Casella. The Italian pianist and composer Alfredo Casella was born in Turin in 1883. Being unable to obtain in the Italian conservatories of the time an adequate musical formation, that would have been complementary to the one received through his family, Casella reaches France. He studies at the Paris Conservatory until 1902, as a pupil of Gabriel Fauré and Louis Diémer. During the years spent in Paris (1896-1915), Casella takes an active part in the Parisian musical life. He performs in many salons, in many concerts organized by French societies (both as a pianist and as a composer). Through his very rich journalistic activity, Casella implicates himself actively in the current debates and polemics of the French musical environment. During these nineteen French years, Casella is exposed to the nationalist currents that inhabit the French artistic milieux. Simultaneously to the very strong expression of this nationalism, Casella will literally be imbued in the various foreign influences (Russian, German, Spanish, Hungarian) than present in this center that is the Paris of the beginning of the XXth century. These multiple influences (those of Stravinsky, Bartók, De Falla) are all integrated in his compositional work, to such an extent that one calls Casella the « chameleon ». The First World War forces Casella to return to Italy. The peninsula is than dominated by operatic music and the instrumental music production is almost inexistent. Casella gives himself the mission of reforming the instrumental music and of fighting actively against Italian operatic music. Such a musical revival will be possible, according to Casella, if Italian composers manage to give up sentimental excesses of the romanticism. This is what Casella will endeavor to do in his own works. But it will not be sufficient. The young composers will have to study the works of Italian great master of the XVIIth and XVIIIth centuries, while integrating technical innovations of European contemporary musics. Casella suggests a reeducation program for the young composers, but also for the Italian public. The pedagogy is, according to Casella, the key which will give access to this musical revival. He will be piano teacher at the Accademia Santa Cecilia, tan at the Rome Conservatory and, finally at the Accademia Chigiana in Sienne. These teaching positions will give him the opportunity to initiate his protégés into Italian classical musics, but also into foreign contemporary musics. He will also set up two concert societies, the Società Italiana di Musica Moderna (1916-1918) and the Corporazione delle Nuove Musiche (1924-1928). With these two concert societies dedicated to make recognize contemporary music in Italy, Casella succeeds in building up an impressive international network which will contribute to his vast plan of the Italian music’s development in a world context. Casella’s first intention is to give back its dignity to the Italian musical art. During the 1930’s, his wish to renovate the music of the peninsula corresponds to several facets of the cultural politic of Benito Mussolini’s fascist regime. Thus, Casella’s name will often be associated to the cultural achievements of the Regime, which seems in contradiction with the composer’s universalizing intentions.
Questa tesi cerca di approfondire le nozioni di nazionalismo e di cosmopolitismo come pure i legami che possono esistere tra di esse attraverso l'opera e la carriera di Casella. Il pianista e compositore italiano Alfredo Casella nacque a Torino in 1883. I conservatori italiani dell’epoca non potendo offrirgli un’adeguata formazione musicale, complementare a quella ricevuta presso la sua famiglia, Casella raggiunge la Francia. Studia al Conservatorio di Parigi fino a 1902, presso Gabriel Fauré e Louis Diémer. Nel corso di questi anni passati in Francia (1896-1915), Casella prende una parte attiva nella vita musicale parigina. Si produce in molti salotti, in molti concerti organizzati da società francesi (allo stesso tempo come pianista e come compositore). A traverso la sua ricchissima attività giornalistica, Casella s’impegna attivamente nei dibattiti e nelle polemiche in corso all’epoca nell’ambiente musicale francese. Durante questi diciannove anni francesi, Casella è esposto ai correnti nazionalisti che abitano i mezzi artistici francesi. Parallelamente alla fortissima espressione di questo nazionalismo, Casella sarà letteralmente bagnato nelle diverse influenze straniere (russi, tedesche, spagnole, ungheresi) allora presenti in questo vero punto di convergenza ch’è la Parigi del primo novecento. Queste numerose influenze (quelle di Stravinsky, Bartók, De Falla) si ritrovano tutte integrate nella sua opera, a tal punto che si chiama Casella il « camaleonte ». L’avvio della prima guerra mondiale forza Casella a tornare in Italia. La penisola è allora dominata dal melodramma e la produzione di musica strumentale è quasi inesistente. Casella si da la missione di rinnovare la musica strumentale e di combattere attivamente il melodramma italiani. Un tale rinnovamento musicale sarà possibile, secondo Casella, se i compositori italiani della nuova generazione giungono a rinunciare agli eccessi sentimentali del romanticismo. È ciò che Casella si sforzerà di fare nelle sue opere proprie. Ma non sarà sufficiente. I giovani compositori dovranno studiare le opere dei grandi maestri italiani del seicento e del settecento, integrando anche le innovazioni tecniche delle musiche contemporanee europee. Casella propone una rieducazione dei giovani compositori, ma anche del pubblico italiano. La pedagogia è, per Casella, la chiave che permetterà l’accesso al rinnovamento musicale. Primo, sarà professore di pianoforte all’Accademia Santa Cecilia, poi al Conservatorio di Roma e, finalmente all’Accademia Chigiana di Siena. Queste posizione di professore gli daranno l’occasione d’iniziare i suoi protetti alle musiche classiche italiane, ma anche alle musiche contemporanee straniere. Metterà anche in piedi due società di concerti, la Società Italiana di Musica Moderna (1916-1918) e la Corporazione delle Nuove Musiche (1924-1928). Con queste due società di concerti destinate a fare riconoscere le musiche contemporanee in Italia, Casella riesce a fabbricarsi un'impressionante rete internazionale che contribuirà al suo vasto piano di sviluppo della musica italiana in un ambiente mondiale. Lo scopo primo di Casella è di ridare la sua dignità all'arte musicale italiana. Negli anni 1930, la sua volontà di rinnovare la musica della penisola conviene con molti aspetti della politica culturale del regime fascista di Benito Mussolini. Così, il nome di Casella sarà spesso associato alle realizzazioni culturali portate dal regime, ciò che sembra contraddittorio con le intenzioni universalizzanti del compositore.

This thesis examines the function of music within different theories of nationalism and the appropriation of folk music within the genre of min’ge. Min’ge, a term in Chinese which directly translates to “folk songs”, has generally been defined as oral musical traditions. However, due to the increased politicization of popular music since the 1930s, the nature folk music has fundamentally changed, reflecting its new significance within Chinese nationalism. Through the years, min’ge has become more useful to promoting the goals of the state than representing the musical traditions of the many different ethnic groups in China. This transformation has established min’ge as an important extension of the Chinese Communist Party’s (CCP) cultural policy, and the manipulation of folk music has asserted the CCP’s cultural hegemony. Ultimately, this cultural hegemony has important implications on Han-minority relations and highlights certain dynamics within Chinese nationalism. Despite its limited and distorted representation of minorities, however, the popularization of min’ge has also inspired minority musicians to reclaim their identities through music. Therefore, this paper explores both the cooptation and contestation of state-promoted identities through the medium of popular folk music.

The main aim of this thesis is to examine the characteristics of Kemalist views and works on Turkish folk music during Early Republican Period. Kemalism, as a modernization project, aimed to transform the Turkish social formation totally. In this respect, one of the indispensable dimension of this project was cultural reforms. The music policies, as a part of the cultural reforms, were given considerable attentions by the Kemalist cadres since the music, according to them, was one of the area to reflect the developmental level of a society. Their views and efforts on Turkish folk music were a significant part of these music policies. In this sense, Kemalist folklore acts are of crucial importance to understand the features of Kemalist ideologic paradigms. Besides, this thesis will deal with the Kemalist folklore acts in order to understand two main principles of Kemalism
nationalism and populism which were the important ideological paradigms of Kemalism. In other words, one of the main ab inito of this thesis is to comprehend the nationalism and populism principles which constituted the general framework of Kemalist folklore acts. The thesis also pays attention to the inconsistencies and unmethodological works in folk music acts during the Early Republican Period.

Este trabalho ocupa-se da intervenção de Heitor Villa-Lobos no domínio da educação musical no Brasil da primeira metade do século XX. Visa a compreensão dos ideais e realizações do compositor, na transformação do seu país nesse domínio. A contextualização histórica, social e política, com particular destaque para a ideologia nacionalista vigente, de que encontramos marcas nos escritos e nas canções patrióticas de Villa-Lobos, contribui para entender melhor os seus objetivos, justificações e os resultados alcançados. Destacam-se na biografia de Villa-Lobos, as viagens que fez pelo Brasil, a recolha de música tradicional que empreendeu, depois assumida como fonte de inspiração e fomento para a criação da sua própria obra. Num Brasil em profundas transformações políticas e sociais, Villa-Lobos surge conotado com o regime ditatorial de Getúlio Vargas, o que lhe permitiu implementar o seu projeto de educação musical do país, tema deste trabalho ; ### ABSTRACT: This essay concerns the analysis of Heitor Villa-Lobos’ role in Brazil’s music education at school level in the first half of the twentieth century. It aims at the understanding of his ideals and accomplishments regarding the transformation of his country in that matter. The historical, social and political context, of which we find evidence in his writings and patriotic songs, helps one towards a better comprehension of his objectives, reasonings and the achieved results, with special focus on the contemporary nationalistic ideology. From Villa-Lobos’ biography it is germane to highlight his travels throughout Brazil, from where he gathered folk music that later inspired the composer in the creation of his own work. In a scenario of profound political and social changes, Villa-Lobos’ is seen to be close to Getúlio Vargas’ dictatorial regime, a situation that allowed the composer to implement his music education project and that this essay refers to.

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O objetivo desta pesquisa é analisar as contribuições de Cecília Benevides de Carvalho Meireles (1901-1964) para os temas da educação e do folclore brasileiros, mais precisamente na relação estabelecida por ela entre estas duas esferas. Cecília Meireles possui uma trajetória de atuação social riquíssima, figurando como poetisa, educadora, folclorista, cronista na grande imprensa, crítica literária e até mesmo tradutora de livros estrangeiros. Envolveu-se com o movimento de renovação educacional dos anos 1920 e 1930, sendo uma das signatárias do Manifesto dos Pioneiros da Educação Nova (1932). Nos três primeiros anos da década de 1930, dirigiu a Página de Educação no jornal Diário de Notícias, através da qual expressava e difundia os ideais da Escola Nova para o público em geral. Também esteve envolvida, já no final da década de 1940, com o Movimento Folclórico brasileiro (1947-1967), participando ativamente de suas atividades nacionais e regionais. Sua atuação como educadora é mais conhecida e estudada, ao contrário de seu lado folclorista, que recebeu pouca atenção da bibliografia especializada. Será este o foco deste estudo, que procurará entender suas diferentes formas de atuação social como um projeto único de nação.
The aims of this research is to analyze the contributions of Cecília Benevides de Carvalho Meireles (1901-1964) to brazilian education and folklore discussions, specifically the relationship established by her between these two subjects. Cecilia Meireles has a rich background of social acting as a poet, educator, folklorist, chronicler in the mainstream newspapers, literary critic and even a translator of foreign books. She engaged in the educational reform movement in the 1920s and 1930s as one of the signatories of the Manifesto dos Pioneiros da Educação Nova (1932). In the first three years of 1930s, she directed Página de Educação in the newspaper Diário de Notícias, in which she expressed and spread the ideals of the New School to the general public. By the late of 1940s she was also engaged in the Brazilian Folkloric Movement (1947-1967), actively participating in their national and regional activities. Her performance as an educator is more known and studied, unlike the folklorist side, which received little attention from specialized literature. This will be the focus of this study, which will seek to understand different forms of social action as a single national project.

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Heavy chains had been keeping Ireland attached to the English colonial system. During seven hundred years, Ireland had been fighting for its political, military, financial and religious independence. The nationalists, arising from the process of seeking for sovereignty, had idealized on the historical roots and on the necessary weaponry for their national project to succeed. This path, nonetheless, pervaded the Celts, the people that became the nation’s spirit for the national movement. Thus, the myths, tales and ancient Gaulish folk tales were freshend. Literature became one of the most important pillars for Ireland’s independence enterprise. William Butler Yeats (1865-1939) founds the Celtic Twilight characterized by a group that started, in short, the presentation of the Irish people, by emphasizing to the Celtic inheritance over culture though drama. By this time, Yeats writes The Countess Cathleen, a play that opens both Celtic Twilight and Abbey Theater, in Ireland. The plot presents the conflicts of a community devasted by starvation. It spins around a heroic character, Countless Cathleen, the action evolves with the appeal for the nationalist sacrifice. By offering her soul towards the country people, Cathleen evokes pagan and Christian myths, in a plot that inspires historical facts and political ideals. In this scenario, our work has for its purpose to investigate the building of Cathleen as an Irish heroin, and the folkloric tales used by Yeats during this learning process of this main character for the play, during the action. For this, we turn to theorists like Propp (1984), Sperber (2009), Campbell (2007), Bettelheim (2012). Due to the Romantic aesthetics overlaid Yeat’s plot, we also had to carry a historical and theoretical analysis on Romantic movement main aspects, especially the movement that brought to life medieval feelings through the Medieval Revival during the nineteenth century. The analysis is built as symbolic and allegorical literature reflecting , respectively , the engagement of the work to the Celtic folklore and the political purpose of the nationalist struggle waged by Yeats
Pesadas correntes mantinham a Irlanda presa ao sistema colonial inglês. Durante setecentos anos, os irlandeses lutaram por sua independência política, militar, financeira e religiosa. Os nacionalistas, resultado do processo de busca pela soberania, idealizaram nas raízes históricas do país as armas necessárias para que seu projeto nacional tivesse êxito. Esse caminho, porém, perpassava pelos Celtas, povo que se tornou para o movimento nacionalista o espírito da nação. Sendo assim, os mitos, os contos e as lendas folclóricas ancestrais gaulesas foram revividas. A literatura se tornou um dos pilares mais importes no projeto de independência da Irlanda. William Butler Yeats (1865-1939) funda a Renascença Celta que ficou caracterizada como um grupo que começou de forma concisa a representação do povo irlandês, dando ênfase à herança céltica na cultura através da dramaturgia. Com isso, Yeats escreve The Countess Cathleen, peça do dramaturgo que inaugura a Renascença Celta e o Abbey Theater, na Irlanda. A trama encena os conflitos de uma comunidade devastada pela fome. Centralizada em uma personagem heróica, a Condessa Cathleen, a ação desenvolve-se como apelo ao sacrifício nacionalista. Ao ofertar sua alma em prol dos camponeses, Cathleen evoca mitos pagãos e cristãos, numa trama que mimetiza fatos históricos e ideais políticos. Diante desse cenário, nosso trabalho teve como proposta investigar a construção de Cathleen enquanto heroína irlandesa e como os contos folclóricos Celtas foram utilizados por Yeats nesse processo de aprendizado da personagem central da peça durante a ação. Para isso, nos voltamos a teóricos como Propp (1984), Sperber (2009), Campbell (2007), Bettelheim (2012). Devido à estética Romântica que reveste a trama de Yeats, tivemos ainda que fazer uma análise histórica e teórica dos principais pontos Romantismo, principalmente o movimento que reviveu no século XIX os valores e sentimentos medievais através do Medieval Revival. A análise constrói-se, como uma literatura simbólica e alegórica refletindo, respectivamente, o débito da obra ao folclore Celta e ao propósito político da luta nacionalista travada por Yeats.

Magister Artium - MA
In 1974 an Agricultural Museum Committee was established at the Worcester Museum which ultimately led to the development in 1981 of the Kleinplasie Open Air Farm Museum.This began a new phase in the museum’s history, one that I will argue was particularly closely linked to Afrikaner nationalist historiography, in particular to ideas about frontier farmers and pioneer farming lifestyles and activities.This study will take the form of a critical analysis of the establishment of Kleinplasie Living Open Air Museum from 1974 until 1994. It will evaluate the making of exhibitions, its architecture, and the performances and public activities in the establishment of the institution as a site of memory and knowledge. The key question this work engages with is how representations, performance, exhibitions, museum activities, and public involvement were shaped to create particular messages and construct a site of cultural identity and memory at Kleinplasie Living Open Air Museum.It will also deal with questions around who decides on the voices and content of the exhibitions, architecture and displays. The role played by professionals, those who claim to represent community, donors and other interests groups will also be placed under the spotlight. There are also questions around the provenance of collections, the way they were acquired through donations and sponsorships, and the crucial role objects played in the construction of the narrative and identity of the museum.A key question that emerges from my own work is the connection between the Afrikaner nationalist scholarship and the development of the open-air museum based on the life of the frontier farmer at Kleinplasie. While Kleinplasie does not seem to follow the monumental approach that was evident in schemes such as the Voortrekker Monument in Pretoria, where triumphalism and conquest are key metaphors, it does rely on a sense of ‘independence’ and self-fulfilment in social history type setting. There is thus a need to consider how Afrikaner nationalist historiography impacted on the way history was depicted at Kleinplasie. P. J. van der Merwe’s studies of the character and lifeways of the trekboer(Die Trekboer in die Geskiedenis van die Kaapkolonie), seems to have played a central role in the construction of the theme and narrative. This three-volume trilogy provided Kleinplasie(literally, ‘little farm’) with a social and cultural history on which to construct its version of the past.

Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains x, 187 p.; also includes graphics. Includes bibliographical references (p. 180-187).

Pour quelles raisons le celtisme fut-il mobilise dans le cadre de revendications culturelles puis identitaires a la fin du xixeme siecle et au debut du xxeme siecle dans les peripheries celtiques et dans celui de l'effervescence juvenile contemporaine ? y a t'il un rapport entre ces mobilisations ? en fait, il n'y a pas de lien entre le fait que des populations celtiques aient effectivement ou non peuple les regions concernees par ces mobilisations et contrairement a ce que l'on pourrait penser, la presence des celtes n'a pas toujours ete reconnue a travers l'histoire dans les regions concernees. L'objet de ce travail est en fait de comprendre comment le celtisme correspondait aux attentes et aspirations des acteurs sociaux qui l'ont mobilise et la reponse a cette interrogation passe par l'analyse de l'image du celte au fil de ses diverses reactualisations dans les episodes regionalistes ou nationalistes des peripheries celtiques et dans la societe contemporaine. L'image du celte, liee a l'alterite, s'est construite par contre-acculturation dans un processus de sedimentation et de polarisation semantique par opposition a l'image que le non-celte moderne voulait donner de lui ; de par sa formation, elle est donc devenue un modele de reference pour les acteurs sociaux aspirant a une esthetique alternative aux valeurs de la modernite rehabilitant tout ce qui n'etait pas productif, efficace utile et raisonnable, tout ce qui etait rejete par la "mythologie du progres" ; cette image fut le modele vers lequel se sont tournes les intellectuels parisiens celtomanes au xviiieme siecle, les erudits locaux et les micro-nationalistes des peripheries celtiques au xixeme et au debut du xxeme siecle et enfin la jeunesse au tournant du xxieme siecle. Il y a bien continuite dans les diverses re-appropriations de l'image du celte qui l'enrichissent tandis que son champ de reception s'elargit suivant le trajet d'une spirale expansive
Why was celticism resorted to in the process of cultural and identity claims from the end of the xixth century and the beginning of the xxth century on, in the celtic peripheries and in today's celtic effervescence ? is there a link between both processes ? actually, these processes were not the consequence of any prehistorical celtic settlement in those places and unexpectedly enough, a celtic past has not always been claimed for through history in those parts. Actually the prospect of these research is to explain why celticism was the answer to the expectations of the social actors who resorted to it. An analisis of the celt's image through the history of regionalism and nationalism in the celtic peripheries and through contemporary society is the way to carry it on. The celt's image, related to otherness, has been constructed as a counter-acculturation in a sedimentation and polarization semantic processes, in an opposition to the image the modern non-celt wanted to show of himself. From its very construction it has, so far, become a model for social actors who longed for alternative aesthetics to the modern way, that would reestablish what was beyond efficiency usefullness and sensibility and all what had been rejected by the "mythology of progress". The celt's image became the model to which the xviiith century celtomanes of paris, local erudites and micro-nationalists in the celtic peripheries in the xixth century and the beginning of the xxth century and young people in western europe at the turn of the century turned to. There is indeed a continuity in the successive re-actualizations of the celt's image which enrich it while the understanding of its meaning is getting broader and broader following the path of an expansive spiral

Le concept de la grécité naît avec la question identitaire du nouvel état hellénique. À l’écho du romantisme, c’est sur la culture populaire que reposent les aspirations pour une création musicale savante à caractère national. L’« invention de la tradition » offre dans ce cadre la source que l’on évoque pour créer une koinè musicale, portant ainsi un vieux langage oral au-delà de ses limites ; pour assurer les symboles de la nouvelle ère, solidement construits sur les valeurs du passé ; pour établir un réseau d’hégémonismes culturels et pour régler les rivalités personnelles qui en résultent. Dans l’imaginaire collectif, la musique populaire devient alors le dépositaire des valeurs esthétiques qui sont sensées s’être accumulées et conservées au fil des générations depuis l’Antiquité, sous forme de stéréotypes. L’École Nationale monopolise les esthétiques et les idées durant la première moitié du XXe s. ; mais son impact retentit bien au-delà, affectant même l’aspiration à la modernité
The concept of Greekness constitutes part and parcel of the identity question of the modern Greek state. Against the background of romanticism the aspirations of creating an art music with an evident national character were consigned to folk culture. In calling upon an “invented tradition” for the creation of a “common” music - a process that dramatically displaced folk culture - those aspirations were by and large about securing the symbols of modernity, always already inextricably linked to the values of the past; about establishing a network of cultural hegemonies, as well as managing its effects in contexts like personal rivalries. For the social imaginary stereotypical images of folk music become then a repository of aesthetic values supposedly accumulated and preserved from generation to generation since the antiquity. During the first half of the 20th C the National School monopolizes aesthetics and ideas in Greece; yet, its impact can be detected much longer as one can argue that it strongly influences the very aspiration to modernism itself

Le Congo dépossédé de sa nature et de sa culture, érigé en état depuis 1960 s'interroge sur son devenir en tant que nation. Une nation à la recherche d'une identité culturelle mobilisatrice et génératrice de progrès et d'un développement endogène harmonieux du nouvel homme congolais. L'étude veut approcher la problématique de la construction nationale d'un pays dont les frontières sont héritées de la colonisation et regroupent dans un cadre étatique : la République populaire du Congo des populations diverses aux identités fortement ressenties. Mais ne sont étudiées que des questions relatives à la dépendance culturelle et la formation de la conscience nationale à travers la politique culturelle par l'expose des efforts des congolais en vue de recouvrer leur "moi authentique", de bâtir une culture qui consolide et affermisse le sentiment national afin d'édifier une nation nouvelle. L'édification nationale se poursuit petit à petit mais malgré les gros efforts déployés, le pays perçoit sa propre conscience à travers le prisme de l'extraversion culturelle.

Le "Dictionnaire des coutumes, des traditions et des expressions égyptiennes", publié en 1953 par l'homme de lettres Ahmad Amîn (1886-1954), apparaît comme l'un des premiers textes qui procédèrent à l'enregistrement et à la description du folklore égyptien, qui se trouve ainsi défini comme un sujet digne de connaissance et de mémoire. Cet ouvrage, en langue arabe, contribue en effet à la formalisation du folklore en consignant des croyances, des pratiques et des savoir-faire relevant de traditions orales non codifiées. Souvent utilisé comme source ethnographique pour l'histoire de l'Egypte contemporaine, il n'avait jamais fait l'objet d'une présentation d'ensemble. A partir de l'indexation des articles par thèmes, l'analyse de ce dictionnaire montre dans quelles perspectives le domaine des traditions ou du folklore se constitue en un objet d'étude, comment s'y construit la notion de tradition et quel contenu lui est donné. Ahmad Amîn voit tout d'abord dans les traditions l'expression de l'identité des Egyptiens. L'affirmation du caractère national des mœurs et des coutumes qu'il décrit, ainsi que le motif historique qu'il donne à leur collecte, justifient l'intérêt porté à celles-ci. En consignant des traditions sur le point de disparaître, son dictionnaire témoigne de la volonté de préserver le souvenir du mode de vie du passé, constitutif de la mémoire et de l'identité collectives, et de l'intégrer à l'histoire de l'Egypte. Les traditions sont enfin abordées d'un point de vue critique, dans une perspective de normalisation culturelle, ce qui participe également à la définition - ou à l'invention - du folklore égyptien.

Cette thèse s’interroge sur la nature évolutive des nations et du nationalisme autochtones au Canada. L’auto-identification des nations ainsi que les bases normatives du nationalisme autochtone sont principalement ancrées dans la tradition et la continuité. En contrepartie, on remarque l’insertion grandissante du discours autochtone dans un langage essentiellement moderne, tout comme certaines actions politiques des élites et des citoyens témoignent d’une conception de plus en plus moderne de la nation. La recherche se concentre donc sur l’impact de la tradition et de la modernité dans la définition de la nation et du nationalisme autochtones contemporains. La recherche propose une perspective croisée entre les idées politiques, l’analyse empirique et les théories normatives. Deux scénarios interprétatifs sont envisagés. D’abord, la thèse de la continuité, issue de l’approche primordialiste, où on observerait, chez les Autochtones, la présence, antérieure au contact avec les Européens et à l’avènement de la modernité, de nations et d’éléments politiques structurés. Un second scénario, issu de l’ethnosymbolisme, n’exclut pas que les nations se soient formées autour de noyaux ethniques préexistants, mais prend aussi en compte l’évolution vers des éléments politiques plus contemporains, due à l’impact de la modernité et à l’influence des nations et des nationalismes environnants. Ce scénario est privilégié dans la recherche. Suit l’examen des divers types de nationalismes autochtones contemporains au Canada, en fonction de leur rapport à l’État, aux structures émanant de celui-ci et au rôle des élites et des citoyens. Puis, une étude de cas est présentée, celle des Innus au Québec, constituée d’entrevues avec des acteurs clés permettant de vérifier la validité du scénario interprétatif. En parallèle, la recherche contient une importante partie normative. Celle-ci, s’appuyant sur le droit à l’autodétermination des nations, examine les présupposés normatifs du nationalisme autochtone, qui se trouvent eux aussi à effectuer une synthèse entre tradition et modernité. En conclusion, une reformulation concernant la nature des nations et du nationalisme autochtone est proposée. Les bases normatives, principalement ancrées dans le passé, sont reconsidérées en intégrant également des éléments plus modernes, en fonction des conclusions établies par la recherche.
This dissertation examines the evolving nature of indigenous nations and nationalism in Canada. Nations self-identification and normative foundations of indigenous nationalism are mainly rooted in tradition and continuity. In return, we note the increasing integration of indigenous discourse in a very modern repertoire, making use of concepts such as "self-determination", "sovereignty" citizenship and "government", among others, as certain political elites and citizens actions demonstrate a modern conception of the nation. Research therefore focuses on the impact of tradition and modernity in the contemporary definition of the nation and the indigenous nationalism. This research proposes a cross perspective between political thought, empirical analysis, and normative theories. Two interpretive scenarios are considered. First, the thesis of continuity, following the primordialist approach, where one would observe among Aboriginals the presence, prior to contact with Europeans and the advent of modernity, of nations and structured political elements. It is a dominant speech among Aboriginal nationalist elites. A second scenario, derived from the theory of ethnosymbolism, does not exclude that some core elements have remained, such as myths, symbols, traditions, and that nations are formed around pre-existing ethnic cores. However, it also takes into account the evolution towards more political standards, due to the impact of modernity and the influence of surrounding nations and nationalism. This scenario is favored in the research. Following the observation of various types of contemporary indigenous nationalism in Canada, with regard to the relation with the state, its structures and the role playing by elites and citizens. Then, a case study is presented, that of the Innu in Quebec, consisting of interviews with key players, which allows to verify the validity of the interpretative scenario. In parallel, research has a considerable normative part. The latter, based on the self-determination of nations, examines the normative assumptions of Aboriginal nationalism which perform a synthesis between tradition and modernity. To conclude, some reformulation of the nature of Aboriginal nations and nationalism is proposed, in which the normative bases, mainly rooted in the past, are reconsidered by integrating and taking more modern elements as well, depending on the conclusions reached by the research.

De 1997 à 2000, les territoires palestiniens sont le théâtre d’une fragile construction nationale. Ce processus s’interrompt brutalement avec l’Intifada al-Aqsa. Pendant cette période, l’Autorité palestinienne participe à l’organisation des pèlerinages musulmans de Nabî Mûsâ et de Nabî Sâlih. Ces fêtes religieuses sont l’occasion pour les dévots de nouer des liens intimes avec les prophètes et Dieu. Elles constituent également des moments d’exaltation nationaliste. Dans un contexte où le culte des saints est condamné par l’islam officiel, la tradition de se rendre en pèlerinage sur la tombe des prophètes se doit d’être réinterprétée, réinventée. Un mythe récent attribue la création des mawsim-s à Salâh al-Dîn, le vainqueur des croisés en 1187. Par le biais de cette figure héroïque, le pèlerinage devient un acte patriotique. Cependant, les sanctuaires demeurent des centres de dévotions où les fidèles se rendent pour chercher réconfort et assistance auprès des saints. L’articulation entre, d’une part, objectifs politiques et religieux et, d’autre part, cérémonials collectifs et dévotions individuelles constitue la problématique de ce travail
Between 1997 and 2000, the Palestinian territories saw a fragile state building process. The outbreak of the Intifada al-Aqsa brought it to a brutal end. During this period of time, the Palestinian Authority was closely involved in the organisation of the Muslim pilgrimages of Nabî Mûsâ and Nabî Sâlih. During these two religious festivals, worshippers create intimate ties with the prophets and with God. They are also occasions for national glorification. In a context where the cult of the saints is commonly condemned by official Islam, the tradition to perform pilgrimage on prophets’ tombs was reinterpreted and reinvented. According to a recent myth, which emerged in the 1920s, Salâh Al-Dîn, the victor of the Crusaders in 1187, decided to create the mawsim-s. By the means of this heroic figure, the pilgrimage becomes a patriotic act. However, the sanctuaries remain devotional centres where the worshippers go to seek the saints’ comfort and assistance. The articulation between, on the one hand, political and religious objectives and, on the other hand, collective celebration and individual devotions constitutes the general problematic of this work

Over the past ten years, the Costa Rican dance style known as swing criollo has gone from relative obscurity to acceptance as national heritage. In the 1970s and 1980s, it was considered a dance of the urban working-class chusma, or "riff-raff," because of its associations with the working-class music of cumbia and San José's seedy dance salons. Starting in the early 2000s, however, an active campaign of nationalization and folklorization by dance instructors brought the dance to the status of national patrimony. This was achieved through dance classes, festival performances, the creation of a short video documentary, and the work of the dance company La Cuna del Swing to canonize the dancers and stages of swing criollo. The folklorization of swing criollo at first seems to be a top-down phenomenon that suggests little agency among working-class dancers; they have been personified in the national imaginary as exotic Others, an urban folk from an earlier generation that now exists only to perform and embody that tradition. On further examination, the folklorization of swing criollo represents a new sort of folklore, one that is highly contested and engages in a different discourse of authenticity, some influenced by dancers themselves. Swing criollo as a "modern" and "urban" form has allowed for self-mythmaking among the dancers of the self-proclaimed "old guard" that invented the style. It also legitimizes the dance style in its popular form, as opposed to older projections of folklore that that place tradition in opposition to modernity. I examine discourses surrounding the nationalization of swing criollo as well as the negotiations of spaces of culture through which swing's legitimization unfolded. I conclude by suggesting that ethnomusicologists should continue to theorize folklore's changing nature as it is contested and re-defined to include popular, urban, and modern cultural expressions.
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In 1834, Belinsky melodramatically proclaimed, “We have no literature”. He was far from alone; similar sentiments are echoed in numerous critical essays and articles of the 1820s and 30s. These dire assessments of the state of Russian literature reflect the urgent concern the question of national identity had become to intellectuals of the period in the first few decades of the nineteenth century. In the wake of its victory in the Napoleonic War, Russia had won considerable military and political power in Europe. Culturally, however, there was a palpable sense of insecurity vis-a-vis Western Europe. Critics and writers bemoaned the derivative nature of Russian literature, calling for the creation of a national literature that would reflect the unique essence of the Russian national character. The means by which a sense of Russianness or “narodnost’” could be created in literature would become a central concern and topic of debate for writers and critics of the first four decades of the nineteenth century. Folklore was thought to be one way of producing the desired narodnost’. Based on German Romantic theories of nationalism, particularly those of Herder, it was argued that the “folk poetry” of the simple people retained a pure form of the national spirit untainted by foreign influence. It was to this folk poetry that many writers turned in their attempts to create a national literature. There were attempts to create works that imitated folk ballads, songs, and fairy tales as well as incorporating folkloric elements in larger literary works. This period also saw the early efforts to collect authentic examples of folklore from among the people - Pushkin ranks among these early collectors as well as Kireevsky. The practice of introducing elements of folklore into high literature was more complicated, however, than the theory would have one believe. Rather than being the unadulterated voice of the Russian nation taken directly from the people, the “folklore” that appeared in literary texts during this period was more often than not an amalgamation of many influences from both high and low literature and both foreign and native sources. Indeed, it would probably be more productive to think of the folkloric elements of literary texts in this period as being more representations of folklore than as “authentic” folklore. In this dissertation I will examine how writers, through the figure of their various narrators, interact with the folk material of their narratives. My analysis will focus on Alexander Pushkin, Nikolai Gogol and Vladimir Dal. My emphasis will be on analyzing how narrators situate themselves in relation to the folk elements of the text and how their attitudes dramatize the various issues and problems that arise from the gentry writer’s encounter with the cultural other represented by the folk. In my exploration of folklore in Pushkin’s works, I trace the development of his relationship with folklore from one of the earliest of his works, Ruslan and Liudmila, through the middle years of his career, represented by Eugene Onegin, where he makes his most explicit statement about Russian national identity. I conclude with a consideration of his fairytales, which were written towards the end of his artistic career. Through these works, I trace the shift of Pushkin’s narrator’s stance from a position of relative distance from the folkloric elements of his narrative toward a greater sense of identification with his folkloric material. The chapter on Gogol is devoted to the first volume of his Evenings on a Farm Near Dikan’ka. My focus will be on how the figure of the author is splintered and diluted as editor Rudy Panko presents the reader with stories he heard from storytellers in his village, who in turn, heard their stories from still other storytellers, leading to series of nested storytellers. I will also examine how these various storytellers display an array of attitudes toward their folk narratives and how these relationships are enacted in the text. My final chapter is devoted to Vladimir Dahl and his First Five collection of folk tales. I will consider the significance of Dahl’s ideas about the centrality of the language of the common Russian people for the construction of a national identity and how these ideas found expression in his folk tales. As with the other chapters, my focus will be on the figure of the narrator and how his attitudes toward the folkloric elements of his tales form an image of Russian national identity. I hope to show through these explorations how the writer’s engagement with folklore contributed to the image of the Russia and the construction of Russian national identity in nineteenth century literature.

Based on Hobsbawm’s notion of “invented traditions,” this thesis argues that the Serbian warrior tradition, the hajduk, was formalised from the folk oral epic tradition into official state practices. Using reports from the Balkan Wars of 1912-1913, military histories of Yugoslavia’s Second World War, and case files from the International Criminal Tribunal for the Former Yugoslavia (ICTY), this thesis shows how the hajduk epics were used to articulate war programs and formations, to construct perpetrator and victim identities, and to help encourage and justify the levels of violence during the Yugoslav wars of succession, 1991-1995. The thesis shows how the formalising of the invented hajduk tradition made the epics an important part of political and military mobilisation for at least the last two centuries. During Serbia’s modernisation campaign in the nineteenth century, the epic hajduk traditions were codified by Serbian intellectuals and fashioned into national stories of heroism. While cleansing territories of undesirable populations during the Balkan Wars of 1912-1913, the hajduks were portrayed in the tradition of nation builders by the Kingdom of Serbia. The hajduk tradition was also mobilised as Nazi Germany invaded Yugoslavia in 1941, with both Draža Mihailović’s Četniks and Tito’s Partisans appropriating the historic guerrilla tradition. During the “re-traditionalisation” period under Slobodan Milošević in the 1980s, the invented hajduk tradition was again mobilised in the service of war. As Bosnian Muslim bodies were flung from the Mehmed Sokolović Bridge in Višegrad in 1992, the Serbian perpetrators dreamed of themselves as avenging hajduks thus justifying a modern ethnic cleansing.
Graduate

Crime and turbofolk as a cover to autocracy? Nationalism in Serbia at the end of the 20th century Abstract: In this MA. thesis it will be investigated how, by the influence of the politics of Milosevic in the 1990s, implemented by the political elite gathered around him, a rise of crime, war profiteering and the development of a new popular culture genre of turbofolk appeared in Serbia. Such socio-political conditions, supported by a strong media propaganda by the regime, turned out to be the key pillars of Milosevic's autocratic rule. Special emphasis will be given to a new cultural phenomenon that struck this region in the period - the phenomenon of "turbofolk" as the dominant music genre of the time, that completes the picture of Serbian society during the 1990s. Overwhelmed with elements of kitsch and baroque, this popular music genre which originated in the restaurants of central Serbia suburbs, has become an unavoidable part of everyday life of young people, whose new idols were individuals who measured their success by the number and importance of their criminal ventures. The emergence of turbofolk, therefore, is considered in light of the birth of the new socio-political circumstances. But it is interesting to note that turbofolk, with some adjustments, remains the dominant musical genre in Serbia...

This dissertation provides both an historical outline and contemporary ethnographic account of the Panamanian musical practice called “música típica popular,” which is commonly understood in Panama to denote a specific kind of vernacular music that is widely embraced. By examining the social-historical processes, events and discourses that have contributed to the genre’s development, this study seeks to develop greater understanding of what I argue is this music’s particular and pronouncedly ambiguous relationship to prominent themes of Panamanian cultural nationalism. Specifically, I endeavour to show that early on in its history música típica popular epitomized Panama’s (liberalist-identified) national ethos of progressive modernity and cultural cosmopolitanism while at the same time maintaining alignments to specific territories and musical practices significant to Panamanian vernacular imaginaries. The historical outline covers música típica popular’s development beginning from the late nineteenth century to the present. Its focus is on the genre’s tandem commercialisation and massification, performance and production technologies and associated performance modalities, shared musical/sonic traits, repertoire and approaches to innovation through musical mixing or fusión (fusion). One of the central goals here is to trace and examine points of alignment between música típica popular and dominant paradigms governing isthmian geo-cultural self-identification—particularly the interplay between a rural-identified “vernacular” culture and the perceived urban cosmopolitanism of Panamanian metropolites. Through ethnographic research this study also aims to examine the various sonic, social and economic factors that contribute to notions of música típica popular as a particular socio-musical collectivity actively in dialogue with discourses of Panamanian national and cultural identity. To this end, notions of “genre” and “style” provide an analytical framework particularly for coming to terms with the interplay between sensibilities of convention and common practice, and a need for meaningful differentiation among practitioners. It is my contention that while música típica popular practitioners actively cultivate links both to themes of Panamanian music-cultural vernacularism and cosmopolitanism, on the whole the relationship of the genre to nationalist discourse should be more properly understood as one of sustained ambiguity: not wholly aligned to one theme or the other, and in fact doggedly and often productively resistant to such binary categorizations.

This dissertation investigates the development of W.B. Yeats’s aesthetic philosophy during his earlier career (1883 to 1907), particularly as it is presented in his prose writing and certain dramatic works of the period. Yeats is exposed to the folkloric tradition of Western Ireland from a young age while at the same time receiving a thorough education in the aesthetic philosophies of the Romantics, Pre-Raphaelites and French Symbolists. He finds the ideas regarding the ability of symbols to enlarge the imagination of the artist and his audience which these philosophies expound to be present in the folkloric tradition of Ireland. Yeats becomes involved with the nationalist cause of Ireland as a young man, and finds himself attracted to the prospect of contributing to Ireland’s struggle for independence on a cultural front. He chooses to apply his Romantic principles to art which draws on the shared folkloric tradition of Ireland in an effort to inspire cultural, rather than purely political, rejuvenation amongst his Irish audience. Yeats holds that art which only aims to serve political or moral ends often compromises its aesthetic integrity and he chooses to distance himself from such art, instead promoting an aesthetic ideal which values art for its inherent ability to communicate with an audience through the traditional symbols it encompasses. The artist is placed in the role of the bard and functions as the mediator who exposes the ancient truths that have been embedded in symbols through their traditional use. The poet must be able to create freely and without the pressure of serving a practical cause if he is to be successful in his cultural duty, and this too demands art to be valued autonomously as a force that has the potential to culturally invigorate a disenfranchised colonial Ireland. These ideas are honed during time spent in nationalist, occult, literary and theatre societies where different ideas and principles are unified with his early Romantic ideals to form an aesthetic which has the communicative and enlarging capabilities of art at its centre. The theatre in particular becomes a platform through which Yeats explores and expresses his own aesthetic ideals. This dissertation takes a historical and literary philosophical approach to establish Yeats’s aesthetic development from a traditional Romantic aesthetic to one that is thoroughly progressive and concerned with the autonomous value of Irish art.
MA (English), North-West University, Potchefstroom Campus, 2015

This master's diploma thesis discusses the mechanisms by which the Slovak public television talent show Zem spieva (2017) creates the concept of folklore perfor- mance as a means of building and expressing national identity. This thesis also discusses the mechanisms by which the show creates a platform for negotiating the criteria of high standard folklore performance which should present a consistent reconstruction of tradition. These two effects of the show Zem spieva are in this thesis perceived as conceptually conflicting: on the one hand, there are essentialist ideas about the genetic predisposition of members of the Slovak nation for folklore performance; on the other hand, there are doctrines focused on the reconstruction of the tradition on the folklore stage. These doctrines are followed by an expert jury composed of prominent members of the folklore community. This thesis argues that the concept of performing folklore on stage perceived as an intellectual problem of the reconstruction of tradition is in the show subversive and therefore gradually replaced by emotionally and patriotically defined criteria of high quality folklore performance. This preferred measure preserves cultural cohesion in terms of sa- tisfying the needs of the mass audience. Following the conflict of the mentioned...

This research surveys the Swiss missionaries' management of social transformation in South Africa (1873-1973). It has as its major focus the management of schools, hospitals and churches as the primary institutions of social change in society. The researcher's realisation that more often than not, the changes brought to bear on proselytes by the change forces take time to manifest themselves vividly induced him to extend the scope to include the dawn of the new political dispensation in this country in 1994. This need not surprise the readership as the triadic approach, which is synonymous with historical analyses compels researchers to avail readers of what happened in the past, present as well as what is likely to occur in future. In other words, readers will encounter the ethnic nationalism engineered by different change agents in this country and the repercussions thereof, and the schism within the Swiss Mission in South Africa/Evangelical Presbyterian Church in South Africa that started in 1989 and became reality in 1991. Finally, the thesis also appraises readers of what should be done in periods of rapid social change.
Educational Studies
D.Ed. (History of Education)